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Example research essay topic: B I G Racial Minorities - 1,799 words

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Nyisha T Coven Music: 230 Dr. Hollerbach The Story of Sean (1) Sean Puffy Combs was born in 1970 in Harlem. His father fell victim to gang related violence when Sean was 3 years old. Combs went to the private Mount St. Michael Academy in the Bronx, before getting into prestigious Howard University in Washington, DC and leaving after a year to pursue a career in the music business.

Even in his early years, Combs proved that he was able to make a lot of money, while getting involved in various business enterprises. One of his earliest business pursuits was paper delivery, which established Combs as self-reliant young man, who was capable of realizing lifes opportunities, as they came. Later in career, this quality is going to play a very important role... In 1987, Combs' alliance with Heavy D landed him a meeting with Uptown Records executive Andrew Harrell, who offered the ambitious young man an intern position at his company. Impressed with the self-starting young mans work ethic and his closeness to the urban youth culture, Harrell began giving the eager Combs more responsibilities and artistic freedom.

In 1989, Combs was the youngest executive in the industry, named vice president of A&R for Uptown. In 1992, Combs founded his own company Bad Boy Entertainment and. In 1994, after releasing Grain Macks first album Flava in Ya Ear, Bad Boy Entertainment made huge profits literally overnight, because the album turned out to be a big success. At the same time, one of Combs closest friends Christopher Wallace (Notorious B. I.

G. ), was becoming an American hip-hop legend, which resulted Combs to get associated with the gangsta rap to even greater degree. In fact, Combs was being featured in Notorious B. I. G many videos, which landed him a fame of rapper, even before his own first album was released.

In 1997 Christopher Wallace was killed in the gunfight. This inspired Combs to write a song Ill be Missing You, which instantly became a hit. Later that year Combs released his debut album, "No Way Out" which included "I'll Be Missing You" as well as his follow-up hit "Its All About the Benjamins" which featured extensive cameos by B. I. G. and Lil Kim.

Criticized for relying too much on guest stars and writing and performing little of his own material, Combs debut and his 1999 sophomore effort "Forever" did play more like compilation albums than a unified record. In 2001 Combs almost ended up behind bars. He was arrested in one of New York nightclubs for allegedly wounding three people with a handgun. However, just as with the case of O. J. Simpson, he was able to get away with his crime, because of his close association with Jewish lawyers, who defended him during the trial.

It must be said that Combs did change his ways, after being acquitted. He realized that having a good time, at the expense of endangering his future, was simply not worth it. Even though that Combs was able to make a millions of dollars in music industry, he continued to try out a new business ventures. In 1997, he opened Justin's, a Caribbean and soul food restaurant named after his eldest son.

In 1998 he started out his own fashion line and also tried to establish himself in movies industry, by signing up a contract with Dimension Films. (2) Even though that the name of Sean Combs is being strongly linked with gang-related violence, it does not give us right to dismiss the value of his songs. In fact, it is because Combs is no stranger to the ways of street that enable us to respect him. Combs represents the growing political influence of Black community, which slowly but surely acquires more and more self-respect. This sense of self-respect grows out of the notion of raw power, which is promoted by Rap lyrics. Black people simply reject White Liberals pathetic attempts to help them with the mean of affirmative action, for example. The idea of affirmative action was designed by Whites to help racial minorities to stand up for their rights, when it comes to dealing with Whites.

Therefore, in its core, it is racist because it is based on the assertion that ethnic minorities are not capable of matching wits with Whites in fair competition, so they need to be helped up. Yet, it is Whites that need to be helped, because their music is deprived of primeval aggressiveness, which we associate with Rap. Combs is known for his deep respect of Malcolm X, who promoted the idea of Black people simply taking their civil rights, rather then expecting to be handed them out. The only way to achieve it is to gain respect, on the part of White people. In its turn, the best way to accomplish it is to instill fear into their hearts, because, in order to be respected, one simply has to assure his reputation as the person, who cannot be fooled around with. This explains the fact why Combs lyrics are often described as dangerous, while their essence is often being referred to as garbage.

Patric Neate in his article Heroes and Villains provides us with a good example of how Whites view the Rap music: It is unarguable that Sean Combs is the prime suspect when looking for a culprit to blame for the plethora of formulaic African- American Muzak that currently pollutes our airwaves in the name of hip-hop. More sinisterly, it is also arguable that Sean Combs is the prime suspect in the ongoing crime that is the worldwide fetishisation of African-American identity in particular, and blackness in general, and its accompanying philosophy of materialism at all costs (Neate). Thus, we can see that celebration of Black-African identity is always going to be thought of as something that represents danger to the oppressive White culture. It is only now that White music and art became civilized, however, it has started out in obscurantism and violence.

Black culture might not be as sophisticated as White culture, but it is alive. There are more and more grafitti es (which is an expression of Black artistic sense) appear in public places every day, while exhibits of White art are being slowly covered with the layer of dust in museums. This is why; the significance of Shane Combs lyrics is not limited to the field of music. His songs contain a powerful philosophical message that raw power will always find a way to gain peoples respect.

Rap in general and Shane Combs, in particular, expose the sheer naivety of those politicians who suggest that the idea of multicultural paradise, in America, is attainable. These politicians suggest that Black people simply need to forget that their ancestors were being sold like animals on open markets, beaten to death and referred to as simply a commodity by White slave owners. However, the history has its own sense of justice, which has nothing to do with political correctness. Now, it expresses itself in the fact that White people are afraid to get out of their houses, after it gets dark, not even to mention venturing in ghettos.

White yuppies move their families into respected neighborhood, while being afraid to admit to themselves that they do it not because there is less crime and schools are safer, but because they simply do not want to live with Blacks and Hispanics. Whitey gets to feel the taste of his own medicine and I think that this is absolutely justified. There is no room under the sun for all, on this planet. There was a time when White people were strong, but now they turned weak; this is why it is only natural for Black people to take advantage of this situation. We can say that this is the essence of Combs lyrics. Even though that he has to pretend that he is being reformed, in order to stay out of jail, he is still the old Puffy.

The reason why Whites hate Rap so much, is because they were unable to come up with something just as powerful, since the time of Wagner. This is why they pour dirt on Shane Combs, without realizing that it makes even more popular. (3) The reason I choose Sean Combs is not that he is altogether faultless. It appears that his singers talent is being undermined by his preoccupation with making money. Still, he shows us that it is possible for the Black person to become socially prominent, for as long as he posses necessary qualities. One of the greatest Black writers Booker T. Washington once said: The individual who can do something that the world wants done will, in the end, make his way regardless of his race (Washington, p. 99).

The story of Shane proves the validity of this statement better than anything else. Unlike many other Black celebrities, Combs never whined about racism and about the fact that he was not able to realise his full potential, because society prevented him from doing so. He simply embarked on achieving his goals without considering the odds, which is exactly the reason why he was able to succeed. Therefore, we can say that Combs story represents a lesson to us all. To conclude this paper, let us summarise its main points. Shane Combs is a representative of a new generation of Black Americans, who are free from the spiritual burden of conventional morality.

His lyrics might be described as aggressive, but they are not hateful, just as we cannot refer to the tiger, which is about to kill a deer, as being hateful. It is only through respecting each others power that Black and White people can coexist peacefully in this country. The fact that more and more Whites are becoming physical and mental degenerates cannot inspire a respect, on the part of Black people. Black Rap is an expression of power; therefore, it is absolutely artistic, despite what numerous experts might say.

It appears that this musical trend is going to become even more popular, as time goes by, because racial minorities in America acquire more self-respect. Rappers know that Liberal propaganda of tolerance is nothing but a pathetic attempt, on the part of decedents of slave owners, to ignore the fact that American society is divided along the racial and cultural lines. This is why - even the most primitive rant about the pleasure of pulling guns trigger, is much wiser than the superficial sophistication of politically correct demagogy. Shane Combs had not saved anybody from drowning; nevertheless, he can still be referred to as hero. Bibliography: Neate, Patric.

Heroes and Villains. 2005. Find Articles. 11 May. 2007 web Booker. Up from Slavery. New York: State University of New York Press. 1967.


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